Underground Rapper of the Week is a new feature designed to raise awareness of rappers from all over the world who, if that world were a perfect place, would be more famous than they are. It will be updated every Tuesday before the sun goes down. Feel free to email suggestions of slept-on rappers from your city or wherever to: ezra.stead@gmail.com

Few underground rappers are more innovative and influential than California’s Gift of Gab, best known as the emcee half of the great Hip-Hop duo Blackalicious, complemented by DJ Chief Xcel. Gab is well-known by heads everywhere for his amazing verbal dexterity and immediately recognizable style, as well as his uncommon intelligence and careful enunciation on the mic. “Alphabet Aerobics,” from Blackalicious’ 1999 A2G EP, is a perfect example of his showy, technical side, as he flips a continuous stream of lyrics that only speeds up and gets more complex as he cycles through the entire alphabet, devoting approximately two bars to each letter.

However, Gab is not just a gimmicky, smarter-than-thou rapper’s rapper. What really sets him apart is his insightful, positive and elevating lyrical content, as heard on songs like “Shallow Days,” from Blackalicious’ 1999 debut full-length, Nia, where he laments the superficiality of consciousness in Hip-Hop culture: “The word ‘peace’ is just an expression / Used to say ‘bye’ when it’s time to jet and / Them red, black and green medallions / Was all just part of a trend, I guess / Hardly ever see them around brothers’ necks no more.” Tracks like this and the storytelling anthem, “Deception,” on which he chants the mantra, “Don’t let money change you,” show Gab to be relentlessly positive and forward-thinking, though he is quick to remind listeners he is not judging anyone for how they might be forced to live. As he says on “My Pen and Pad,” from Blackalicious’ 2005 album, The Craft, he is “never an anti-gangster – the ghetto is still in the mind.”

As great as A2G, Nia and The Craft are, Blackalicious’ indisputable masterpiece is 2002’s Blazing Arrow, a truly epic collection that feels like a culmination of everything the Xcel and Gab had done up to that point. It also features stellar work from a variety of other artists affiliated with Blackalicious and the Quannum Projects, including Nikki Giovanni, Gil Scott-Heron, DJ Shadow, Lyrics Born, Saul Williams, Zack de la Rocha of Rage Against the Machine, and Chali 2na of Jurassic 5, among others. My introduction to the wonders of Blackalicious began with the apocalyptic “Sky Is Falling,” on which Gab paints a dark picture of a world in which “juveniles is losing trials, catching a bid of murder one / And mothers is drinking and drugging, hoeing, searching for their sons.” Blazing Arrow is full of gems like that song, as is Blackalicious’ entire catalogue.

Underground Rapper of the Week is a new feature designed to raise awareness of rappers from all over the world who, if that world were a perfect place, would be more famous than they are. It will be updated every Tuesday before the sun goes down. Feel free to email suggestions of slept-on rappers from your city or wherever to: ezra.stead@gmail.com

Normally this column is devoted to a single rapper that deserves your attention, but Orlando’s powerhouse group Solillaquists of Sound are so completely unified that it often feels as though the four-person collective is a single artist, albeit one capable of incredible feats no one human being could manage. Though emcees Swamburger and Alexandrah are each among the best underground rappers I could possibly profile (though Alexandrah is really more of a jazz and soul singer, who nonetheless spits rhymes with the best of them), it is their unique collaboration with poet Tonya Combs and one-man-band DiViNCi that really makes them stand out as one of the most original and vital forces in music today.

Solilla began in 2002 as a collaboration between Swamburger and producer DiViNCi, before incorporating fellow Orlando artist Combs and Alexandrah, who originally hailed from Chicago. The nascent group spent a great deal of time together in the studio, quickly recording their first full-length album, 4 Student Counsol (Running from Precedence), before ever performing together in front of an audience. 4 Student Counsol is a wonderfully warm and welcoming musical experience, full of laughter and the sort of endearing mistakes most artists would leave on the cutting room floor. Though the lyrics and production are tight, there is a loose feeling to the recording that gives the listener a feeling of being a part of the creative process itself.

This immersive feeling is very much a part of Solilla’s ethos, which is amply evident in their live show, an experience that simply can’t be reproduced. However, until you get the chance to see them live, their 2005 follow-up album, Solillaquists Live (The Truth Don’t Need Support), is a great appetizer, and their live DVD, Fam Glorious, comes even closer. Solilla’s live show is truly amazing, a galvanizing event filled with laughter, tears and joy. Unlike the average Hip-Hop show, where emcees and deejays generally stand posted and deliver sound, Solilla really make use of the whole stage, and Swamburger is often known to jump off it for an impromptu breakdancing session amidst the audience. However, more than anyone else in the crew, DiViNCi is a maniac live, playing two to four MPC drum machines in lieu of the traditional deejay’s two turntables. He often plays them with his feet or even his face, generating unparalleled enthusiasm from the crowd.

After catching the ear of kindred artist Sage Francis, Solilla signed to Anti-/Epitaph in 2006, touring with him behind their first major label release, As If We Existed, which shows an admirable maturation without sacrificing any of the emotion or vitality of their previous independent releases or their live show. Witness the way they blend Swamburger’s ferocious, rapid-fire rapping with the swelling beauty of Alexandrah’s vocals and DiViNCi’s production on tracks like “Ask Me If I Care,” or the highly thoughtful message mixed with satirical humor of tracks like “Black Guy Peace.” For a deeper look at DiViNCi’s stellar musicianship, this video documenting his creation of the synthesized “guitar” solo at the end of “Berlin” is also a must.

Solillaquists of Sound have been gaining in popularity ever since, garnering a great deal of attention for their stellar single, “Death of the Muse,” featuring J-Live, Chali 2na of Jurassic 5, and the mother of the late, great producer J Dilla, to whom the track is dedicated. With the release of their second Anti-/Epitaph release, No More Heroes, they have also branched out into the field of music videos such as “Gotham City Chase Scene” and “Marvel” while continuing to represent at live shows all over the world, and they are from slowing down. Part one of their new two-part album, 4th Wall, is now available in a limited edition.

N.A.S.A.’s 2009 debut, The Spirit of Apollo, was one of the freshest, most creative hip-hop records to come out in years, a high-proof blend of booty-shaking beats (courtesy of partners DJ Zegon and Sam Spiegel), dizzying rhymes (from an astounding list of guest MCs that included Kanye West, Chuck D, Chali 2na, Gift of Gab, and Del tha Funkee Homosapien), and sharp pop hooks (with help from guests like David Byrne, Tom Waits, Lykke Li, Karen O, Santigold, M.I.A., and George Clinton). Those are some stuffed parentheses, but they only touch the surface of what Apollo has to offer; in the post-mashup era, it illuminates the fertile possibilities of cross-pollination and a healthy disregard for genre boundaries.

It’s therefore unsurprising – though still disappointing – that N.A.S.A.’s follow-up represents such a substantial comedown. The Big Bang is a remix project, and as such, it presented all kinds of strong possibilities; after all, we’re talking about a subgenre whose best-selling titles include Bobby Brown’s Dance!…Ya Know It! and Paula Abdul’s Shut Up and Dance, so the bar is set pretty low. Unfortunately, although The Big Bang is every bit as danceable as anyone could hope, it’s crippled by a narrow focus: Rather than remixing all (or even most) of Apollo, Bang‘s 17 tracks include four versions of “Gifted” and three of “Whachadoin?” – and it completely skips some of Apollo‘s strongest songs, like the David Byrne/Chali 2na/Gift of Gab collision “The People Tree.”

Still, it’s worth noting that all the songs being remixed here are solid; if you’re going to chew up most of an album with different versions of the same stuff, it’s definitely better to start with strong raw material. And of the two new tracks, the Maximum Hedrum/Barbie Hatch collaboration “I Wanna Be Your Lover,” with its breathy vocals and Tom Tom Club synths, is nearly worth the price of admission by itself. During the lead-up to The Big Bang‘s release, Squeak E. Clean has been in Ethiopia, recording traditional music for the next N.A.S.A. project, which suggests that even if this curious piece of between-album project represents a creative lull, they haven’t run out of barriers to ignore. (Spectrophonic Sound 2010)